In November of 2013, Foundation East participated in a public art project for the design and painting of seven Irvington traffic signal boxes along Washington Street from Kitley to Emerson Ave. This was completed and met with immense community excitement.
Foundation East’s focus is to transform all the remaining Irvington traffic signal light boxes into community public arts canvases. Aside from creating inspiring public works of art in the eastside, these boxes aid in public safety and provide a sense of community pride in Irvington. 2013’s themes center on two things: Car culture and a farming heritage.
The original idea for painting traffic signal boxes came from IMPD Officer Shane Foley, who recommended painting the signal boxes because it leverages current neighborhood crime prevention activities through environmental design. The Irvington Terrace Neighborhood quickly organized the activity by seeking appropriate government permission, fundraising, requesting local donations and announcing a call for artists. Selected artists received prize money donated by local businesses and organizations.
Designs include one or combination of Irvington’s branding color scheme. Pantone colors: PMS 582, 228, 1595, 130, Cool Gray 11, Cool Gray 8.

In November of 2013, Foundation East participated in a public art project for the design and painting of seven Irvington traffic signal boxes along Washington Street from Kitley to Emerson Ave. This was completed and met with immense community excitement.
Foundation East’s focus is to transform all the remaining Irvington traffic signal light boxes into community public arts canvases. Aside from creating inspiring public works of art in the eastside, these boxes aid in public safety and provide a sense of community pride in Irvington. 2013’s themes center on two things: Car culture and a farming heritage.
The original idea for painting traffic signal boxes came from IMPD Officer Shane Foley, who recommended painting the signal boxes because it leverages current neighborhood crime prevention activities through environmental design. The Irvington Terrace Neighborhood quickly organized the activity by seeking appropriate government permission, fundraising, requesting local donations and announcing a call for artists. Selected artists received prize money donated by local businesses and organizations.
Designs include one or combination of Irvington’s branding color scheme. Pantone colors: PMS 582, 228, 1595, 130, Cool Gray 11, Cool Gray 8.

In November of 2013, Foundation East participated in a public art project for the design and painting of seven Irvington traffic signal boxes along Washington Street from Kitley to Emerson Ave. This was completed and met with immense community excitement.
Foundation East’s focus is to transform all the remaining Irvington traffic signal light boxes into community public arts canvases. Aside from creating inspiring public works of art in the eastside, these boxes aid in public safety and provide a sense of community pride in Irvington. 2013’s themes center on two things: Car culture and a farming heritage.
The original idea for painting traffic signal boxes came from IMPD Officer Shane Foley, who recommended painting the signal boxes because it leverages current neighborhood crime prevention activities through environmental design. The Irvington Terrace Neighborhood quickly organized the activity by seeking appropriate government permission, fundraising, requesting local donations and announcing a call for artists. Selected artists received prize money donated by local businesses and organizations.
Designs include one or combination of Irvington’s branding color scheme. Pantone colors: PMS 582, 228, 1595, 130, Cool Gray 11, Cool Gray 8.

In November of 2013, Foundation East participated in a public art project for the design and painting of seven Irvington traffic signal boxes along Washington Street from Kitley to Emerson Ave. This was completed and met with immense community excitement.
Foundation East’s focus is to transform all the remaining Irvington traffic signal light boxes into community public arts canvases. Aside from creating inspiring public works of art in the eastside, these boxes aid in public safety and provide a sense of community pride in Irvington. 2013’s themes center on two things: car culture and farming heritage.
The original idea for painting traffic signal boxes came from IMPD Officer Shane Foley, who recommended painting the signal boxes because it leverages current neighborhood crime prevention activities through environmental design. The Irvington Terrace Neighborhood quickly organized the activity by seeking appropriate government permission, fundraising, requesting local donations and announcing a call for artists. Selected artists received prize money donated by local businesses and organizations. Designs include one or combination of Irvington’s branding color scheme.
This Car Culture traffic signal control box was done by Indianapolis-based artist Andrew Severns using his signature geometric forms, with a central car image.

In November of 2013, Foundation East participated in a public art project for the design and painting of seven Irvington traffic signal boxes along Washington Street from Kitley to Emerson Ave. This was completed and met with immense community excitement.
Foundation East’s focus is to transform all the remaining Irvington traffic signal light boxes into community public arts canvases. Aside from creating inspiring public works of art in the eastside, these boxes aid in public safety and provide a sense of community pride in Irvington. 2013’s themes center on two things: Car culture and a farming heritage.
The original idea for painting traffic signal boxes came from IMPD Officer Shane Foley, who recommended painting the signal boxes because it leverages current neighborhood crime prevention activities through environmental design. The Irvington Terrace Neighborhood quickly organized the activity by seeking appropriate government permission, fundraising, requesting local donations and announcing a call for artists. Selected artists received prize money donated by local businesses and organizations.
Designs include one or combination of Irvington’s branding color scheme. Pantone colors: PMS 582, 228, 1595, 130, Cool Gray 11, Cool Gray 8.

In November of 2013, Foundation East participated in a public art project for the design and painting of seven Irvington traffic signal boxes along Washington Street from Kitley to Emerson Ave. This was completed and met with immense community excitement.
Foundation East’s focus is to transform all the remaining Irvington traffic signal light boxes into community public arts canvases. Aside from creating inspiring public works of art in the eastside, these boxes aid in public safety and provide a sense of community pride in Irvington. 2013’s themes center on two things: Car culture and a farming heritage.
The original idea for painting traffic signal boxes came from IMPD Officer Shane Foley, who recommended painting the signal boxes because it leverages current neighborhood crime prevention activities through environmental design. The Irvington Terrace Neighborhood quickly organized the activity by seeking appropriate government permission, fundraising, requesting local donations and announcing a call for artists. Selected artists received prize money donated by local businesses and organizations.
Designs include one or combination of Irvington’s branding color scheme. Pantone colors: PMS 582, 228, 1595, 130, Cool Gray 11, Cool Gray 8.

Combining an aluminum exterior with a steel infrastructure, this 15-ton stylized sculpture by artist Jeff Laramore of 2nd Globe Studios honors Indiana’s state bird, the northern cardinal. Linel Signature of Mooresville was the fabricator of the cardinal sculpture, spending over spent 6 months cutting, shaping, and welding the 15,000 pounds of steel and 15,000 pounds of aluminum. The multimillion-dollar plaza outside the JW Marriott tower is a tribute to Indiana, with artwork depicting the state bird, the state tree (the tulip poplar), and state flower (the peony).

The dynamically positioned "red wing" and its connection to the ground via the sweeping arch element, makes an immediate and obvious link to aviation. This act of "bridging" can be seen as a symbol of airports, which are in fact "middle ground" – the physical places in our contemporary society that connect the earth and sky. Airports are between two worlds and take on modern mythic status.
The physical shape, positioning and color of Cardinalis, with its uplifting, sweeping and graceful energy, is itself a metaphor for the act of flying . The delicate and relatively small area where it "touches down" not only gives the work great physical drama and visual excitement , it also is symbolic of the skill and "magic" needed for safe taking off and landing. Cardinalis pays homage both to the Wright Brothers and to the men and women whose skill and dedication make air travel a reality.
Quoted from: http://www.johnvanalstine.com/docs/portfolio/cardinalis.html

Care/Don’t Care, created by Indianapolis-based artist Jamie Pawlus, resembles a pedestrian signal and functions like the typical “Walk/Don’t Walk” signals. In an increasingly fast-paced world, this project quietly invites users to pause and find joy in a moment of comic relief. The message “Don’t Care” is programmed to change to “Care” automatically and at random intervals; it can also be changed manually if trail users push the button. The “Care/Don’t Care” signal is placed for use by those continuing along the trail, as opposed to a tradition pedestrian crossing sign that is located near intersections. It is located on the east end of Massachusetts Avenue, just north of the intersection of St. Clair Street and College Avenue.
Jamie Pawlus is a graduate of the Herron School of Art and Design. Her practice involves the creation of conceptually based, site-specific installations. Much of Pawlus’ work is expressed through a public vernacular and is made with the same industrial-grade materials used for public signage. The literal and visual imagery of her works are individual antidotes and anecdotal expressions of personal experiences. Pawlus has been awarded the Efroymson Contemporary Arts Fellowship and the Creative Renewal Arts Fellowship.

This over-life-sized sculpture of two kneeling soldiers, a man and a woman, shows them as if they were on a battlefield and have just picked up an American flag. They seem windblown, as if they are fighting the weather along with other hardships in order to move forward. Eight flags–one for each of the five uniformed military services as well as the U.S. flag, the Indiana flag, and the POW/MIA flag–fly at the site. Six plaques with inspirational quotes surround the pedestal; the quote authors are Presidents Lincoln, Jefferson, Eisenhower and Reagan, philosopher Edmund Burke, and aviator Amelia Earhart. A reflecting pool, common to many memorials, completes the layout.
The memorial honors American veterans of all wars, all periods, anywhere. The figures are wearing late 20th century military dress, but historic battlefield artifacts are represented to signify the historic aspects of the monument.
The sculpture was created in 2006 by Terre Haute, IN artist Bill Wolfe, who won a design competition in order to receive the commission. The project was first initiated in 1999.
Click here for more information.

Brad Howe began his career in Brazil after studying history at the University of Sao Paulo. His work presents the influence of inquiry into the aesthetics of various cultures and distinct movements in the continuum of art history.
Howe’s work continues to connect with international communities, exhibiting and completing site-specific commissions both in the US and abroad. Known for his sculpture practice, Howe’s focus also includes the representation of objects through diverse means, including photography.
“The sculpture, Carmel Watusi, was commissioned for the roundabout where it is installed, to create an uplifting, playful artwork that would brighten the mood on residents and motorist who came across it in their day to day. I call it a Watusi because it was inspired by photographs of dancers, mainly modern dancers, mainly Martha Graham. So whereas I see the piece as a substantial monumental sculpture that people can use as a landmark, it was my hope that it could be appreciated by people from all walks of life, those who are familiar with modern art and those who are not, and that those you see it are somewhat entertained by it. I think that public art should be generous to the public, and I hope that this sculpture accomplishes that.” – Brad Howe
Stainless Steel, Polyurethane

This bronze cast of a 1965 statue by Rhoda Sherbell was made in 2000. It once stood on the IUPUI campus near the National Art Museum of Sport, but has since been moved to their new location within the Children’s Museum.
The sculpture honors Charles Dillon “Casey” Stengel (1890-1975), the baseball player and manager associated with various pro teams, most famously, the New York Yankees and the New York Mets. His outsize personality often overshadowed the sporting accomplishments of his teams. The inscription on the statue’s plinth reads “DEDICATED TO THE FOUNDER OF THE NATIONAL ART MUSEUM OF SPORT. GERMAIN G GLIDDEN. 1913-1999.”
The National Art Museum of Sport is housed within the Sports Legends Experience at the Children’s Museum. It is no longer free, but may be viewed with general admission to the Museum. NAMOS was founded in 1959 in New York City by Germain G. Glidden (GGG), a portrait artist and champion squash player with a strong belief in sport and art as universal languages understood and appreciated by all people. Its mission is to encourage sport artists in their efforts to create sport art, and to collect, preserve and share the best examples of sport art it can acquire. The museum occasionally assembles exhibitions from its 1000-piece collection and circulates them to other venues for display. For more information, visit http://nationalartmuseumofsport.org/

At the southeast corner of Lilly Science Hall is Brian Ferriby’s painted steel sculpture, Caterpillar. Ferriby, from Berklem, Michigan, uses copper and steel mined in the Upper Peninsula. He employs techniques elemental to the region, from those of the earliest black­smiths to the ironworkers who built fac­tories, skyscrapers, and bridges. “I believe my sculpture is a continuation of these innovations,” Ferriby says.
Quoted from: www.uindy.edu/arts/caterpillar

Celebrating the Hoosier Spirit is on view outside the 4H Exhibit Hall and Auditorium on the Indiana State Fairgrounds beginning in August 2012.
About the work: The Hoosier spirit is fruitful, strong and resilient. Like a farmer who has lost his crop yet goes out the next year to plant the seed, plow the field, and harvest the corn – the Hoosier spirit finds a way to face tragedy by reaching out to help and continuing the work. When faced with a challenge, Hoosiers respond much like the farmer – we get our hands dirty. We do the work. The strength of the Hoosier spirit is represented in these structures created by sculptor Jamie Dickerson. The exterior surface of these forms imitates the texture and coloring of cornhusk. The conical shape of the husks appears to grow and twist into stylized shelters as they curve upward. Each has an opening inviting viewers to connect with the art, to walk into them and explore the strength, beauty and versatility of this resource: the most productive and versatile crop grown around the world.
Special thanks to: Pike Lumber Company, Akron, IN

Located in the Indianapolis International Airport – Concourse A
Artwork includes poem excerpt:
I will bring you a whole person
and you will bring me a whole person
and we will have us twice as much
of love and everything
I be bringing a whole heart
and while it do have nicks and
dents and scars,
that only make me lay it down
more careful-like
An’ you be bringing a whole heart
a little chipped and rusty an’
sometime skip a beat but
still an’ all you bringing polish too
and look like you intend
to make it shine
And we be bringing, each of us
the music of our selves to wrap
the other in
Forgiving clarities
soft as a choir’s last
lingering note our
personal blend
I will bring you someone whole
and you will bring me someone whole
and we be twice as strong
and we be twice as sure
and we will have us twice as much
of love
and everything
Mari Evans, Celebration, 1993

The entire south wall of the Central Ace Hardware on Arlington Avenue. is covered by Carl Leck’s graphic and tromp l’oeil depiction of tools. A larger-than-life screw juts out from the wall, waiting for the screwdriver to be put to use.

“Chatham Passage” is a multisensory artwork comprised of a sunken concrete scent vault with an ornate steel grate and LED lighting. Located in a historic alley in the Mass. Ave. Cultural District and adjacent to a night club, the scent vault will release a faint floral aroma recalling a scent historically associated with luxury. Both the luxurious scent and the ornate latticework of the vault cover reference the work of the former Real Silk Hosiery Mill, which was located adjacent to the alley as well. The vault form also references the historic coal vaults in the area. The ethereal qualities of the vault, grate, light and scent are intended to create an emotional environment that allows trail users to form unique relationships with the Indianapolis cityscape of yesterday, today and tomorrow.
Sean Derry is a conceptual artist whose public projects seek to connect a site’s history with its current context and use. Derry earned his Bachelor of Arts degree in studio art from the University of Alaska, Anchorage, and his Masters of Fine Art in studio art from The Ohio State University, where he studied with internationally renowned artist Ann Hamilton. Derry completed a successful site-specific public art project in Indianapolis in 2005 as a finalist in the Great Ideas Competition managed by the Arts Council of Indianapolis. His project “Charting Pogue’s Run” received national recognition at the annual conference of the Americans for the Arts when it was selected by the artist Mary Miss and Robert Rindler, artist and president of the Milwaukee Institute of Art and Design, to be featured in the Public Art Year in Review as one of the most innovative and exciting public art projects to happen in the country that year. A former resident of Bloomington, he now lives in Pittsburgh.
Quoted from: http://www.indyculturaltrail.org/chatham-passage.html

Each year since 1947, a 1,200-pound bronze cherub mysteriously appears atop the Ayres Clock the day before Thanksgiving until Christmas Eve.
The angel theme arose from commercial artist Virginia Holmes, who drew cherubs in the empty spaces of the L.S. Ayres holiday catalog. The department store then commissioned Indianapolis sculptor and Herron Art School instructor David Rubins to create the statue, which has greeted holiday shoppers every year except 1992, when L.S. Ayres was sold. Public outcry was so great that the Cherub soon returned.
There is currently a movement to install the Cherub permanently.

In 2016, Keep Indianapolis Beautiful’s IPL Project Greenspace transformed a vacant lot in the Springdale neighborhood into a place of honor for one of Indianapolis’ oldest trees, a chinquapin oak dating back about 300 years, complete with a historical marker and neighborhood storytelling about what the oak has “seen.” In conjunction with the pocket park, and with independent funding, the neighborhood commissioned two artists to create works highlighting different aspects of the initiative.
Sculptor Nick Gehlhausen, a Springdale resident, created a hillside installation using pieces of a neighbor’s old concrete patio. The piece resembles roots, and aligns well with the base of the chinquapin oak tree (the Nowland Oak) at the space. The intention of the piece is to also help draw attention to the place, create awareness of the need for tree root protection, and connect with how the tree was preserved.
Mosaic tile artist Barbara Zech created two different designs for sidewalk markers to help people find the pocket park and, once there, to help welcome visitors. The smaller markers are embedded into sidewalks and run for two blocks along Nowland Ave. and Brookside Parkway S. Drive, allowing visitors to discover another large, even older (about 450 years old–likely the oldest in Marion County) chinquapin oak tree in the neighborhood called the Temple Oak.

Chop Stick, created by the Swedish architecture duo visiondivision, provides visitors to 100 Acres a place to sit, swing, and enjoy refreshments in an outdoor pavilion crafted almost entirely from a single tree. The 100-foot-tall tulip tree—the state tree of Indiana—was found in a forest near Anderson, Indiana, and transported to 100 Acres with a large portion of its limbs intact. The design for Chop Stick revolves around the architects’ ambition to harvest a material as gently and thoughtfully as possible.
A few fun facts about the work:
The tree weighs more than 6 tons
The bark from the tree was removed and kiln-dried to create the shingles that cover the concession stand
Slices from the base of the tree trunk form the tops of the tables
Quoted from: www.imamuseum.org/visit/100acres/artworks-projects/flow/chop-stick

The bust of explorer Christopher Columbus is cast in bronze.[2] He wears a period costume, and his hair falls at approximately chin length. His facial expression is unsmiling, his chin is raised slightly and his eyes gaze off to his left. On the sculpture’s proper left, below his left shoulder, the artist’s name is inscribed as E. VITTORI. The bust of Columbus measures approximately 39 inches (99 cm) by 23 inches (58 cm) by 29 inches (74 cm); it stands on a granite pedestal measuring approximately 82 inches (210 cm) by 62 inches (160 cm) by 58 inches (150 cm) and a base that measures 14.5 inches (37 cm) by 80 inches (200 cm) by 76 inches (190 cm).
Below the bust is a granite pedestal with a plaque and relief carvings underneath. The carving on the front of the pedestal depicts a figure grouping with a man draped in fabric and wearing a crown of laurels standing in the center. His left arm is raised in the air and right hand rests in front of his waist. To the left and right of this man, three figures of Native Americans are featured, two of whom are kneeling before him; one on either side. The kneeling figure on Columbus’s left is a man, while the two figures on his right are women, one of whom is standing just behind his right shoulder. The relief on the pedestal’s proper right side depicts a seated woman with her right hand resting on her chest and left hand on a large anchor; her head is turned to her right. The relief on the pedestal’s proper left side is a profile view of a seated woman resting her right elbow on a globe. Below the relief sculptures, the pedestal slopes outward to meet a two-stepped granite base.
The plaque on the pedestal’s front states:
CHRISTOPHER COLUMBUS BORN IN GENOA, ITALY 1451. DISCOVERED AMERICA OCTOBER 12, 1492. THIS LAND OF OPPORTUNITY AND FREEDOM WAS THUS PRESERVED FOR HUMANITY BY THE PERENNIAL GENIUS ABIDING IN THE ITALIAN RACE. REFURBISHED BY KNIGHTS OF COLUMBUS 1956.
Metal lettering on the pedestal’s back reads:
ERECTED A.D. 1920 BY THE ITALIANS OF INDIANAPOLIS KOKOMO LOGANSPORT RICHMOND ETC.
A plaque on the pedestal’s back reads:
THE COLUMBUS QUINCENTENARY JUBILEE COMMISSION OF INDIANA INC., IN BEHALF OF INDIANA’S ITALIAN-AMERICAN COMMUNITY DEDICATES THIS PLAQUE TO THE CELEBRATION OF THE 500TH ANNIVERSARY OF THE COLUMBUS DISCOVERY OF AMERICA MAY THE GENIUS ABIDING IN THE ITALIAN RACE ENCOURAGE TOLERANCE AND ACCEPTANCE OF ALL CULTURES AS AMERICA’S ULTIMATE CONTRIBUTION TO HUMANITY.
Christopher Columbus was created by Enrico (Harry) Vittori, an Italian artist who lived in Indianapolis. Vittori attended the Florence Academy of Art in Florence, Italy and traveled to Indianapolis in 1919 to work for an airplane company. The sculpture was presented to the State of Indiana in 1920 by members of Indiana’s Italian community. It is the only monument at the Indiana Statehouse donated by immigrants, and it was intended by the Italians to be a tribute to America. The monument stood unchanged for 35 years. In 1955 the Knights of Columbus funded the cleaning of the bronze bust and the addition of new bronze lettering on the back of the pedestal.[5] The sculpture was modified again in 1992 during the Columbus Quincentenary, which celebrated the 500th anniversary of Columbus’s voyage to America. The Knights of Columbus installed a plaque bearing another statement about Christopher Columbus, bringing the total number of written statements on the pedestal to three.
Christopher Columbus was installed on the Indiana Statehouse lawn shortly after its completion and has not been moved or viewed in any other location. However, the initial proposal for the sculpture requested that the piece be erected in one of the Indianapolis parks, and the location of “University Square” was listed as a potential site for the monument.
Christopher Columbus was a gift from a group of Italian immigrants who lived in Indiana. It was commissioned with proceeds from a fundraising campaign lead by Vincent A. LaPenta, a surgeon and scientist who presided over the executive committee of Italian Propaganda. Indiana Governor James P. Goodrich dedicated the sculpture on October 31, 1920. LaPenta spoke at the dedication ceremony and stated, “Columbus can be considered humanity’s greatest benefactor.”
The sculpture is owned by the State of Indiana, Department of Administration.
Quoted from en.wikipedia.org/wiki/Christopher_Columbus_(sculpture_by_Vittori)

Inuzuka’s contribution to ArtsPark was created in conjunction with the Indiana School for the Blind and Visually Impaired (ISBVI). Working from ISBVI student feedback, Inuzuka created this Zen-like sculpture composed of a 10-foot ring of black granite with a sand garden on the inside. When turned, the sand garden’s rotating arm smoothes the sand and triggers songs to play. These songs were recorded by ISBVI students. Aside from his aesthetic sensibility, Inuzuka’s status as legally blind made him uniquely qualified for this collaboration.
Gift of Sheila Fortune Foundation with support from Carter Fortune, June M. McCormack, Cinergy Foundation, Inc, Sallie Mae Fund in honor of Dr. Don and Joanne Tharp
Quoted from http://indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf

This two-part mosaic mural, bookending the bridge at the Vermont Street basin of the Downtown Canal, consists of hundreds of handcrafted tiles meant to create a visual dialogue between the viewer and the environment. The circular motif mirrors the ripples and waves of the water and the colors reflect the rich palette of the canal area. Zech created and glazed the tiles in her studio and hand-applied them to the bridge site.
The artist, Barbara Zech, works out of her Indianapolis, IN studio. She exhibits locally and nationally, and travels often for art-related ventures. She has made numerous trips to Africa, where she co-founded a craft micro-enterprise for HIV+ individuals in Kenya; and participated in the International Ceramic Workshop in Malawi. Zech’s original ceramic wall pieces and handcrafted custom tile can be found in residential and public spaces, including Community North Hospital and Simon Cancer Center. Her community tile installations can be seen at several area schools, such as the Indiana Deaf School’s Monon sculpture made up of American Sign Language tiles. Read more about the artist at http://www.barbarazech.com/
The mural installation comprises two of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.

This mural is a fun take on ClusterTruck’s business, which is to provide a central preparation and to-your-door meal delivery service on behalf of its food truck partners.
The mural was designed by Phanomen Design, an Indianapolis-based interior design, architecture and marketing creative team with the mission to make environments more attractive and profitable. It was painted by Pamela Bliss, an Indianapolis-based muralist and sign painter. Learn more about the painter and her other work at https://www.facebook.com/PamelaBlissArt/

The triptych mural, created by Shannon M. Johnson, depicts the past, present, and future vision for the Cole Noble District of downtown Indianapolis, Indiana. Funded in part by an Imagine Grant administered through Downtown Indianapolis, Inc., the mural was commissioned in 2011, installed in 2012, and dedicated on May 24, 2012.
Located on the north wall of the Flanner & Buchanan Funeral Center at the corner of College Avenue and Market Street, the Cole Noble District Mural uses three panels to represent the neighborhood. On the left side, the mural highlights the history of the neighborhood with the foundation of Cole Motor Cars. In the center, the mural draws attention to sports and entertainment in the area today. On the right side, the mural depicts community renewal and growth in the future. The mural was created using source photography and illustrations provided by the Indiana Historical Society and the Indianapolis Star.
The artist is an Indianapolis-based creative communications and marketing support professional. With a diverse experience in marketing, communications, and graphic design, Johnson has worked on a number of projects in the area, including client service, arts, civic, social, political, corporate, and private projects.
Find more information about the Cole Noble District here.

Color Fuses consists of 35 bands of painted color and corresponding illumination wrapping the base of the Minton-Capehart Federal Building. Commissioned by GSA’s Art in Architecture program in 1974, the piece emerged from collaboration between Glaser and building architect Evans Woolen, who shared the goal of making the austere building more appealing to the general public. Color Fuses celebrates the interplay of color and light to make the stark, heavy building appear to float weightlessly. To further this effect, Glaser programmed the exterior perimeter lighting, visible from dusk to dawn, to illuminate his mural in a slow rise and fall sequence at night. This rhythm alludes to the gradual rising and setting of the sun and the timeless wonder associated with the qualities of light as it shifts and reveals itself on the horizon.
At the time of its installation, Color Fuses was one of the world’s largest contiguous murals, measuring 672 feet in length. Although the effect of the lighting was minimal when it was originally installed and had to be abandoned, after a 2014 restoration with digitally-controlled LED technology the combination of color and light finally enhances and enlivens the pedestrian experience as the artist intended.
Milton Glaser (b. 1929) is a celebrated graphic designer, probably best known for inventing the iconic “I [heart] NY” logo in 1977. At the time he was commissioned to create Color Fuses, Glaser owned his own design firm and was one of the founders, and chief designer, of New York magazine (1968).
Read more about this artwork at http://www.gsa.gov/portal/content/141903 and http://blog.art21.org/2012/08/28/no-preservatives-restored-and-renewed-milton-glasers-1975-artwork-color-fuses/

Located in the bistro area of the Fishers Kroger supermarket, Color Me Fishers is a whimsical celebration of the rich history, vibrant culture and close community of the City of Fishers. Within the artwork, viewers can find icons such as the year Fishers was established, the Conner House, Geist Reservoir, Fishers Station and even the city flag. Food shapes unite the design, in the same way that food brings people together. The mural is made from individual pieces of painted wood, assembled as if it were a giant puzzle.
William Denton Ray is an Indianapolis native, a mixed-media painter, sculptor and designer working with a variety of forms and approaches. He attended the Columbus (OH) College of Art and Design where he majored in Advertising Design before transferring to the Herron School of Art & Design, IUPUI, to focus on painting and drawing. In 2009 Ray received a coveted Stutz Residency Award and has had solo exhibitions in Indianapolis and Boston as well as numerous group exhibitions throughout the U.S. Ray has executed several public art projects in Indianapolis. His work is in many public and private collections in Indianapolis and in the U.S., France, and Australia. He maintains studios at his home on Indianapolis’ Northside and at the Harrison Center for the Arts in downtown Indianapolis. Read more about Ray at http://www.whimsicalfunk.com/

Colorful circles and tree mural painted as part of the Johnson County Community Foundation’s 25th anniversary. In 2016, three murals were installed in three different cities and towns in Johnson County.

This mural was created as part of the Johnson County Community Foundation’s annual mural program, Color the County. It was designed by Chrissy Robertson and Patrick Tisdale, and painted by community members. The design is an ode to the important role pollinators like bees play in keeping our ecosystem healthy.

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Disclaimer: The Arts Council of Indianapolis provides this database and website as a service to artists, arts organizations, and consumers alike. All information contained within the database and website was provided by the artists or arts organizations. No adjudication or selection process was used to develop this site or the artists and organizations featured. While the Arts Council of Indianapolis makes every effort to present accurate and reliable information on this site, it does not endorse, approve, or certify such information, nor does it guarantee the accuracy, completeness, efficacy, timeliness, or correct sequencing of such information.